Pennywise – Yesterdays

After a messy split in 2009, it seemed unlikely that Jim Lindberg would ever again join his longtime band mates. Both Pennywise (with Ignite’s Zoli Teglas at the mic) and Lindberg’s Black Pacific project released decent albums that were noticeably different from what fans were used to hearing from the members. Then suddenly it was announced that the guys had reconciled, Lindberg was back in the fold and new music was on the horizon. It could be argued that Pennywise had been on autopilot since the start of the new century, releasing predictable (although still enjoyable) albums at a consistent rate, so for some the lineup shakeup was a welcome thing. When it was announced that the new release would be a collection of old songs, it seemed like promising news. At this point, Pennywise don’t have to prove anything to anyone, they’ve earned their place alongside groups like Bad Religion and Rancid as leaders of the now classic 90s punk movement. They’ve always had their share of haters, but they are great at what they do.

Yesterdays spotlights a rejuvenated band, blending the youthful energy of their early material with the confidence that comes with being elders on the scene. The release kicks off with a strong 90s skate punk bassline as Lindberg sings a song about losing trust in a corrupt police officer, What You Deserve. The song is timely in the wake of the murder of Michael Brown, which has divided a city and arguably a country and brought race relations to light. Obviously the song was recorded well before this event, but it speaks to a long history of mistrust between punks and police officers. They channel Minor Threat on Noise Pollution, but manage to put their personal touch on it. It comes across as a tribute to a band they love rather than an unintentional rip off (although Lindberg has stated in concert that they didn’t immediately realize the similarity when the song was first written). The bass takes center stage on She’s a Winner, which is a mostly instrumental track with sparse, simplistic lyrics. The album flies by, short and fast punk songs with Lindberg’s familiar vocals completing their trademark sound.

The ghost of Jason Thirsk hangs over the recording. He was involved in the initial writing of the tracks and his bass playing is heard on Band Practice 89. The final track on the album, I Can Remember, could be a sequel to the heartfelt Bro Hymn Tribute, with heartfelt lyrics like I can hope, I can remember and think of all the happy times we spent together. Sometimes I see your face, especially on those rainy days. Where did it all go wrong? It is a good counter to the political themes that make up much of their lyrical content. While the mainstream was shook by the suicide of Kurt Cobain in the 90s, punk fans were shocked by the loss of Thirsk to his demons. It is nice to see this apt tribute to a fallen friend, done respectfully. One would hope that he would be happy to see the guys in the band so obviously excited to still be playing music together all these years later. 

It isn’t all perfection. It isn’t as polished as their past few releases, which may be a turn off for those who preferred their releases from the last decade. Band Practice 89 is a really cool listen for longtime fans of the band, especially hearing Jason Thirsk playing with the band once again. But it is a bit of a novelty, 13 raw minutes tacked on the end of the album that becomes all too easy to skip after the first few listens. The growth in Lindberg’s vocals are striking when comparing the new recordings and those from 25 years ago. It is curious why the group would title a song Am Oi! on an album completely devoid of oi… It is also arguable whether No Way Out and Slowdown needed to be included, as both had already been released previously.

Living up to it’s title, Yesterdays sounds as if it was originally recorded in the mid- 90s. It is an enjoyable release full of solid songs that follow the classic Epitaph/ Fat skate punk sound. Younger listeners who discovered the band during their All or Nothing phase may be turned off by the music, as it has less beefed up bro rock and a raw edge that they haven’t displayed since their 90s heyday. It was a brilliant idea to revisit old songs that had never been released. There is a passionate energy that shines throughout, highlighting a group of guys who are truly having fun playing music together. It is great to see Pennywise back together and revisiting the sounds that made me fall in love with them in the first place. This is an unapologetic celebration of the past, of youthful punk rock passion and long lost friends.